DVD Review: John Scofield: New Morning – the Paris Concert

Total Page:16

File Type:pdf, Size:1020Kb

DVD Review: John Scofield: New Morning – the Paris Concert http://ffanzeen.blogspot.com/2010/11/dvd-review-john-scofield-new-morning.html DVD Review: John Scofield: New Morning – The Paris Concert Text © Robert Barry Francos/FFanzeen, 2010 Images from the Internet John Scofield: New Morning – The Paris Concert Produced and directed by Daniel Farhi Inakustik / New Morning Productions, 2010 135 minutes, USD $19.95 In-akustik.de MVDvisual.com New Morning is a large club in Paris, a natural venue for jazz artists like John Scofield. Ohio born-Connecticut raised Scofield celebrates his last year in his 50s by jazzing on the City of Lights, and fortunately, it was captured in High Def on April 23, 2010. There is no preamble here, as the DVD pretty much starts as the two-hour long concert begins. There is little conversation throughout, and all pieces are instrumental, lasting on average about 10 minutes each. John is not alone, though. Yep, he’s packin’. For drums, he has Bill Stewart, who has played with him on and off for about 20 years. He also refers to Stewart is the best drummer he’s ever worked with. On fretless standup bass, there’s Ben Street, who’s tall and gaunt, and plucks the hell outta the thing. Last is Michael Eckroth on drums, who is in Paris for the first time. A former NYU student of Scofield, Michael is the first in this situation John has ever invited on tour, which is saying something. Despite some pretty stubby fingers, Michael is a definite piano wiz, mostly playing a Yamaha piano, and twice switching to a Nord Electro 3 organ. While Scofield is obviously in charge of this quartet, it is also apparent he is comfortable in letting the other members shine, the sign of a confident leader. Now, while I am fond of jazz, I do have to admit that my knowledge base is a bit lower than, say, blues. Jazz is an art form where I prefer to blank my mind and just let it be, rather than trying to deuce it out. That being said, Scofield certainly doesn’t stick to one style, even from one of his own compositions to another. For example, with “My Foolish Heart,” which Scofield describes in one of the rare introductions as “a real beauty” from “a long time ago,” the tempo is slow and moody, with swishy-sounding metal brush drumsticks, sort of a rainy day kind of jazz. Then there’s “I Want to Talk About You,” which has a piano opening with a romantic feeling, even through the dissonance, and Scofield’s guitar part is reminiscent of “God Bless the Child.” “Groove Elation,” the last cut before the encore, has a more modern pacing, with a bluesy tone that makes use the Electro 3. His covers tell a lot as well, such as John Murtaugh’s electric organ based “Slinky,” Dizzy Gillespie’s “Woody ‘N You,” and Charlie Parker’s 1947 classic upbeat, “Relaxin’ at Camarillo,” which has a Charlie Brown’s Christmas vibe to it (though I can hear all you Bird fans yelling at me). It certainly is a solid couple of hours of jazz that one can just put on and close your eyes and relax, knowing you’re in good hands. With a minimal amount of dialog between songs (only two have short introductions, not counting a couple of thank yous here and there), it’s not hard to get lost in the groove. The bonus feature is Soundcheck Sketches , an eight minute bits-and-pieces of the band arriving at the venue, and practicing. Scofield talks over some of this, reminiscing about his life in jazz, and describing the present band. It’s a nice touch for a classy DVD. Songlist Ten Taken Wood ‘N You Slinky My Foolish Heart Steeplechase Hive Lost Found & Inbetween Chirikawa Relaxin’ at Camarillo I Want to Talk About You Groove Elation The Guiness Spot .
Recommended publications
  • Jazz Festival Pr
    ! ! ! ! ! ! ! ! DC Jazz Festival Neighborhood Venues Host More Than 80 Performances Citywide Jazz in the ‘Hoods, a major feature of the DC Jazz Festival, annually attracts a vibrant audience of thousands of music enthusiasts and highlights the city as a vibrant cultural capital by bringing jazz to all four quadrants of the nation’s capital, with over 80 performances at more than !40 neighborhood venues. View full schedule. !RAMW Member Jazz Festival Venues & Specials: Carmine’s DC 425 7th Street NW Washington, DC 20004 (202) 737-7770 http://www.carminesnyc.com !Special: Groups of 6 or more, show your ticket stub to receive a free desert. Bistrot Lepic & Wine Bar 1736 Wisconsin Ave NW Washington, DC 20007 (202) 333-0111 !http://www.bistrotlepic.com !June 10th & 15th- Jazz in the ‘Hoods Presents: Jazz in the Wine Room (7:00 pm) Acadiana 901 New York Ave NW Washington, DC 20001 (202) 408-8848 !http://www.acadianarestaurant.com/acadiana.html !June 14th - Jazz in the ‘Hoods Presents: Live Jazz Brunch (11:00 am) ! ! The Hamilton Live 600 14th St NW Washington, DC 20005 (202) 787-1000 !http://www.thehamiltondc.com June 10th - John Scofield ÜberJam Band featuring Andy Hess, Avi Bortnick & Tony !Mason: 7:30 pm (Doors open at 6:30 pm) June 11th - Paquito D’Rivera with Special Guest Edmar Castañeda: 7:30 pm (Doors !open at 6:30 pm) June 12th - The Bad plus Joshua Redman with Opener Underwater Ghost featuring !Allison Miller: 8:30 pm (Doors open at 7 pm) June 13th - (Early and Late Shows) Jack DeJohnette Trio featuring Ravi Coltrane & Matthew Garrison: 7:30 pm (Doors open at 6:30 pm) & 10:30 pm (Doors open at 9:30 !pm) June 14th - Stanton Moore Trio & Charlie Hunter Trio featuring Bobby Previte & Curtis !Fowlkes: 7:30 pm (Doors open at 6:30 pm) !June 15th - An Evening with Snarky Puppy (First Night): 8 pm (Doors open at 6:30 pm) June 16th - An Evening with Snarky Puppy (Second Night): 8 pm (Doors open at 6:30 pm).
    [Show full text]
  • An Evening with Lettuce & John Scofield
    FOR IMMEDIATE RELEASE CAP UCLA presents An Evening with Lettuce & John Scofield March 20 at The Theatre at Ace Hotel DTLA "(Lettuce is} everyone's favorite funk band..." — Red Bull Music ​ “During the course of his storied career, guitarist/composer John Scofield has never shown much of a predilection to repeat himself. Rather, he navigates through projects as diverse as trio outings, experiments with horns, collections of ballads and collaborations with the likes of Gov't Mule and the Grateful Dead's Phil Lesh in a such a way that, when he completes a cycle of activity, he's grown discernibly as an artist.” — All About Jazz ​ UCLA’s Center for the Art of Performance (CAP UCLA) presents An Evening with Lettuce & John Scofield, on Wednesday, March 20 at 8 p.m. at The Theatre at Ace Hotel Downtown Los Angeles. Tickets for $29–$59 are available now at cap.ucla.edu and theatre.acehotel.com, 310-825-2101 and The Theatre at Ace Hotel box office. Influenced by Earth, Wind and Fire and Tower of Power, among others, undergrads started Lettuce following a music program at Berklee College of Music. Jamming out the summer of 1992 led to engagements in New York, San Francisco, Chicago, and even a following in Tokyo. Their first album Outta Here began Lettuce’s mission of ​ ​ bringing vigor and spunk to classic funk. For their Theatre at Ace Hotel debut, Lettuce will be joined by renowned guitarist John Scofield. An influencer of jazz, Scofield has collaborated with Pat Metheny who performed at CAP UCLA earlier this season.
    [Show full text]
  • Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
    Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris ..
    [Show full text]
  • Dejohnette/Coltrane/Garrison
    FOR IMMEDIATE RELEASE CAP UCLA presents DeJohnette/Coltrane/Garrison December 7 at Royce Hall "Drummer and jazz legend Jack DeJohnette pairs up with saxophonist Ravi Coltrane and bassist (and electronics whiz) Matthew Garrison, to spellbinding and haunting results." —Pitchfork UCLA’s Center for the Art of Performance (CAP UCLA) presents Jack DeJohnette, Ravi Coltrane and Matthew Garrison on Saturday, Dec 7 at 8 p.m. at Royce Hall. Tickets starting at $28 are available now at cap.ucla.edu, 310-825-2101 and the Royce Hall box office. Representing the prestigious lineage of today’s great jazz families, DeJohnette/Coltrane/Garrison explore open improvisation as well as their own compositions. A NEA Jazz Master and Grammy Award-winner, Jack DeJohnette makes his return to the CAP UCLA family and Royce Hall where he previously performed as part of a jazz trio in 2013 with Keith Jarrett and Gary Peacock. DeJohnette/Coltrane/Garrison went through a rebirth in 2016 and have been touring ever since. They first performed the music of the late John Coltrane, Ravi’s father at The Brooklyn Museum. Named after the master sitarist Ravi Shankar, Coltrane is a Grammy nominated saxophonist who has released six albums to date. Matthew Garrison, son of the late Jimmy Garrison who was John Coltrane’s bassist, became a talented bass guitarist in part thanks to his godfather Jack DeJohnette. Garrison has collaborated with several jazz musicians including CAP Alums John Scofield and Pat Metheny. In 1998 Garrison founded GarrisonJazz Productions where he produces, promotes, and markets his music as well as providing music education.
    [Show full text]
  • Chris Greene Quintet: the Popular, Longstanding Chicago Band on Preparing a Tribute to Eddie Harris
    gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO APRIL 2020 WWW.JAZZINCHICAGO.ORG CHRIS GREENE QUINTET: THE POPULAR, LONGSTANDING CHICAGO BAND ON PREPARING A TRIBUTE TO EDDIE HARRIS JAZZCITY 2020 SOUL TO SOUL: A CELEBRATION OF EDDIE HARRIS COMPARED TO WHAT?! (EVENT CANCELED) WHEN THE JAZZ INSTITUTE OF CHICAGO DECIDED to make Eddie Harris the recipient of this year's ongoing JazzCity tribute, one artist and one band were an obvious choice to participate. Who better to capture the slippery, soulful, stylistically restless sound of the late, great tenor saxophonist Chris Greene and his quintet? As suggested by the title of the band's album, Boundary Issues, Greene has never had much use for staying in one place with Chris Greene Ensemble his music. "I don't know my place, I guess, which is why I'm always stepping outside of the so-called boundaries. With the music I like, I just can't help thinking, what would it be like if I did this, or this?" We would have expected to hear Greene and company – keyboardist Damian Espinosa, bassist Marc Piane, trumpeter John Moore and drummer Steve Corley – play popular Harris staples including "Compared to What," "Freedom Jazz Dance" and "Cold Duck Time" at Loyola Park on April 3rd. And if the spirit moved them, the band, which has been together since 2005, might have treated the crowd to one or all of those songs. But having taken a deep dive into Harris' compositions – which in many ways are as notable as his tenor saxophone inventions, something Greene hoped to convey to the audience – the saxophonist is more interested in exposing lesser-heard tunes.
    [Show full text]
  • Downbeat.Com November 2015 U.K. £4.00
    NOVEMBER 2015 2015 NOVEMBER U.K. £4.00 DOWNBEAT.COM DOWNBEAT JOHN SCOFIELD « DEE DEE BRIDGEWATER « AARON DIEHL « ERIK FRIEDLANDER « FALL/WINTER FESTIVAL GUIDE NOVEMBER 2015 NOVEMBER 2015 VOLUME 82 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall Editorial Intern Baxter Barrowcliff ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sam Horn 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk;
    [Show full text]
  • Monterey Jazz Festival
    DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob;
    [Show full text]
  • No Beethoven an Autobiography & Chronicle of Weather Report by Peter Erskine
    No Beethoven An Autobiography & Chronicle of Weather Report by Peter Erskine edited by Rick Mattingly book design by Kio Griffth photography by Shigeru Uchiyama, Peter Erskine & others 1 of 338 About the Author Peter Erskine has played the drums since the age of four and is known for his versatility and love of working in different musical contexts. He appears on 700 albums and film scores, and has won two Grammy Awards plus an Honorary Doctorate from the Berklee School of Music. Fifty albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson big bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Abercrombie, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Oslo, Helsinki, Bremen, Beethovenhalle, Frankfurt Radio, Scottish Chamber, Royal Opera House, New York City Opera, L.A. Opera, BBC Symphony and Berlin Philharmonic Orchestras. Peter has been named ’Best Jazz Drummer of the Year’ ten times by Modern Drummer magazine and was inducted into the magazine’s Hall of Fame. Peter graduated from the Interlochen Arts Academy and studied at Indiana University under George Gaber. He is currently Professor of Practice and Director of Drumset Studies at the Thornton School of Music at the University of Southern California. Peter is married with two children and has lived in Santa Monica since 1987. 4 of 338 Table of Contents Foreword by Mitch Haupers . 8 1.
    [Show full text]
  • Stereophile-2003-09
    Building a Library around the ultra-heavy bass of Woody, sive lineup:Jack Casady, George Porter remembrance of Woody, and one about Haynes' cornucopia of guitar tones, and Jr., Phil Lesh, Alphonso Johnson, Les the moment he heard of Garcia's death. drummer Matt Abts' precise, melodic Claypool, Schools, Chris Squire, Tony Haynes' reunion with the ABB accompaniment. The first two tracks, Levin, and others. The bonus disc in- required an internecine series of events "Blind Man in the 1)ark" and cludes two live tracks recorded with to occur, including Betts' meltdown "Thorazine Shuffle," represent the Schools at the Orpheum theater in and Woody's death. When Betts and Mule ethos as completely as possible. New Orleans in 2001, and aDJ Logic Gregg Allman developed irreconcil- No one knew it at the time, but the remix of "Sco-Mule." able differences Haynes was asked to dark, troubled visions of Mule's 141i' But even as he made The Deep End rejoin the group. With Derek Trucks &five Insanity (2000) would be Allen discs and took Mule out on the road with as his partner guitarist, Haynes once Woody's last hurrah. Haynes has since Schools or Burbridge, Haynes was again revived the ABB band on the said that he was writing about Woody's rejoining the ABB in the wake of Dickey stirring Hittin' the Note (2003), directing problems subconsciously in such songs Betts' departure —and playing with Phil the band's sound while insuring that as "Wandering Child," "Life Before In- Lesh & Friends. Then' and Bark Again the basic forms and trademark arrange- sanity," "Bad Little Doggie," "Lay Your (2002) is generally considered the best of ment touches stayed true to the band's Burden Down," "Fallen Down," and the post-Grateful Dead recordings.
    [Show full text]
  • Keith Jarrett, Gary Peacock & Jack Dejohnette
    Cal Performances Presents About the Artists Saturday, March 14, 2009, 8pm eith jarrett and jack dejohnette first In October 1991, exactly two weeks after the Zellerbach Hall K played together from 1966–1968 as members death of Miles Davis, the trio went into New of the Charles Lloyd Quartet, then for one year in York’s Power Station studio and recorded Bye Bye 1970 with Miles Davis. All three musicians first Blackbird, their deeply felt tribute to the jazz giant Keith Jarrett, Gary Peacock & played together in 1977, when Messrs. Jarrett and that all three had played with in their early years. DeJohnette played on Gary Peacock’s first ECM The trio’s video releases include: Standards I Records recording, Tales of Another. (1985), Standards II (1986), Live at Open Theatre Jack DeJohnette They came together as a permanent trio in East (1993) and Tokyo Concert ’96 (1996)—all January 1983, when Mr. Jarrett invited the other featuring full concert performances. In fall 2008, two men to join him in New York for a recording ECM re-released all four concerts on two special session dedicated to playing “standards”—the rich two-DVD sets. body of American popular songs from the 1930s, In the past 25 years, the trio has been nominat- ’40s and ’50s. At the time, it was considered passé ed for many international awards, including five for top players to concentrate on playing standards American Grammy Award nominations, plus doz- rather than original material, but Keith Jarrett ens of Record of the Year and Critics Prize awards thought it was important to show that, “Music from the U.S., European and Japanese music press, wasn’t about material, but what the player brings including the Gold Disc Award (2000, 2003) from to the material.” Swing Journal (Japan) and the Choc des Chocs The January 1983 sessions produced the trio’s Award (2000, 2001, 2003) from Jazzman magazine first three ECM releases: Standards Vol.
    [Show full text]
  • “He [Foster] Knocked Me out Because He Had Such a Groove and He Would Just Lay It Right in There. That Was the Kind of Thing I Was Looking For
    Al Foster, master drummer, has been a major innovator in the world of jazz for five decades. A member of Miles Davis’ band for 13 years, Foster’s contribution to the music is articulated by Davis himself in his 1989 autobiography, Miles, where Davis describes the first time he heard Foster play live in 1972 at the Cellar Club on 95th Street in Manhattan: “He [Foster] knocked me out because he had such a groove and he would just lay it right in there. That was the kind of thing I was looking for. Al could set it up for everybody else to play off and just keep the groove going forever.” Aloysius Tyrone Foster was born in Richmond, Virginia on His first big break in the business came in 1964 when he January 18, 1943. joined Blue Mitchell’s group on the classic recording The Thing To Do for Blue Note records. Recorded at Rudy Van His family moved to Harlem, New York when he was a Gelder’s studio, with Alfred Lion producing, this record has child. This presented him with the opportunity to live near become a classic. It features Blue Mitchell, trumpet, Junior and study the masters who lived in his neighborhood. Jazz Cook, Tenor, Chick Corea, Piano, and Gene Taylor, bass. drummer Art Taylor lived in the same building as Al’s aunt, and Art’s mother took a special interest in Al, sensing his Al quickly became a working musician on the Jazz scene in love of the music her son was playing. New York.
    [Show full text]
  • 5 Jazz Fusion Guitar Legends
    One of my favorite things about great fusion guitarists is their ability to blend a mixture of rock & blues with a deep knowledge of jazz language and beyond. “Fusion” literally means just that...a fusing of a few, or often many, genres, eventually morphing into its own umbrella that includes everything from Weather Report to Tribal Tech or Airto Moreira and Herbie Hancock. One obvious tenet of Jazz Fusion was the inclusion of electric instruments, which opened up a whole world of improvising through sounds, tones, effects and textures. The guitar established itself quickly as being a core part of this new sound, with players like Larry Coryell, John McClaughin and Al Di Meola paving the way for generations of axe-wielding folk. I wanted to highlight some specific great moments throughout the range of Jazz Fusion guitar history, using 5 different players. Between my analysis and the video, you should have a pretty good understanding of what makes these brief moments so memorable, and integral to the language of this music. Remember that transcribing is not just learning notes and rhythms...try to unpack their tone, articulation, phrasing, and feel (do they lay back in certain moments?). The way Scofield plays his 8th notes lines is wildly different than Kurt Rosenwinkel for instance. Larry Carlton on Steely Dan’s “Kid Charlemagne” (2:42 - 2:47) No need to introduce Larry Carlton...he’s played with everyone and then some. His work with Steely Dan speaks for himself, and his solo on this track really captures his ability to combine tasteful idiomatic language with some effective navigating of the changes.
    [Show full text]